LANGUAGE IN INDIA

Strength for Today and Bright Hope for Tomorrow

Volume 13:6 June 2013
ISSN 1930-2940

Managing Editor: M. S. Thirumalai, Ph.D.
Editors: B. Mallikarjun, Ph.D.
         Sam Mohanlal, Ph.D.
         B. A. Sharada, Ph.D.
         A. R. Fatihi, Ph.D.
         Lakhan Gusain, Ph.D.
         Jennifer Marie Bayer, Ph.D.
         S. M. Ravichandran, Ph.D.
         G. Baskaran, Ph.D.
         L. Ramamoorthy, Ph.D.
Assistant Managing Editor: Swarna Thirumalai, M.A.

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A Brief Look at the Identity, Connectedness and Alienation in the Traditional System of Indian Music

B. A. Mahalalshmi Prasad

Abstract

The present paper looks at the paradigm of Indian classical music, in the context of Raga system wherein the individual swaras play an important and pivotal role in defining and creating an identity as a raga, while at the same time maintaining their individuality within the wholesome product that is the raga. The paper also briefly explores its present reception among the youth of India.

Indian Musical Heritage

India has a rich musical heritage, unique and diverse. It is like two rivers that flow separately and yet together form a vast ocean. These two rivers are: a) Hindustani (North Indian) and b) Carnatic (South Indian) classical music. Each has its own set of ragas. However, Hindustani music has adopted several Carnatic ragas given the vast array of ragas that exist in the Carnatic system.

Both systems of music shared a common history until the arrival of the Islamic rulers of India. It was under the influence of Islamic musical traditions and Muslim musicians that Hindustani music began to develop a mixed genre and developed its own separate identity as a musical system.

This is only the beginning part of the article. PLEASE CLICK HERE TO READ THE ARTICLE IN PRINTER-FRIENDLY VERSION.

B. A. Mahalalshmi Prasad
#2961/75. 2nd Main
5th cross, Saraswathipuram
Mysore-570009
Karnataka
India
machiprasad@gmail.com

A.E.S. National College
Gouribidanur
Karnataka
India
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